Welsh composer Mathias, unlike his contemporary compatriots,
the dissonance-inclined Alun Hoddinott and the sometimes lower-key
Daniel Jones, has done pretty well in the recording stakes.
Decca, EMI, Chandos, Nimbus and Lyrita recorded his orchestral
music but there is still plenty awaiting that privilege.

Brilliance of orchestration is part of the Mathias DNA. Even
in the very welcome First Piano Concerto that glinting
and eager joyous element is present with percussion benches
providing the glisten and gleam. The writing suggests the influence
of Prokofiev and Bartók; more the former. Like Hoddinott, though
in a different manner, nocturnal enchantment is a strong if
unassertive presence. The tonality is no more 'outlandish' than
that of Prokofiev. Mathias is not exactly a lush romantic but
the subtle Lento betrays some evidence in that
direction. Typically Bebbington revels in the work's pyrotechnics
as much as the poetic subtleties and sinister spells (III, 2:47).
The recording is transparent in music that really demands transparency.

In the four movement Second Concerto Mathias explores
a vein of feathery poetry. The first movement opens with glowing
delicacy and melodic allure. Luminously chiming traceries and
rhythmic resource are now well to the fore. The third movement
Lento continues the elusive, regretful, almost tentative
exploratory enchantment of its counterpart in the First Concerto.
A steadily revealed dancing brightness is there recalling the
lively writing in the Rubbra concerto.

We are learning more and more about RVW's prentice works courtesy
of Chandos, Dutton and Hyperion. Here is another in the shape
of his Fantasy, this time shot through with touches in
which we can assess the noonday maturity of the composer. Alongside
this there are other voices - slavonic orthodox chant (2:34)
and a touch of epic Brahmsian heroic surge tirelessly rising
(9:30) to meet Lisztian thunder (13:02). This is juxtaposed
with hymnal fervour as heard in his celebratory version of The
Old Hundredth and the Fantasia
on the 104th. The epic and hymnal aspects meet in grandeur
in the long peroration at 19:32 onwards.

Fingers crossed for more discoveries and revivals. So far as
RVW is concerned there is the tone poem The Solent, the
major Cambridge Mass recently revived and to be second performed
on 22 October 2011 at Bath Abbey and perhaps a reconstruction/realisation
of the Cello Concerto left incomplete or in shreds at the time
of his death. To this might be added a speculative suite drawing
on the remaining evidence of the opera project Tom The Rhymer.
Nor should recording executives forget the short RVW work for
cello and orchestra that was aired at the 2010 Proms.

Mathias, for all that he has done fairly well in discography
terms, still has quite a few works waiting in the wings. These
include Earth's Fire (a big work like This Worlde’s
Joie) and the Violin Concerto.

This constantly revealing and pleasing CD is much more than
a gap-filler … although it does fill gaps. Vass and Bebbington
bring to their revivals a questing spirit. It will refuse to
make routine out of the inspiration that rests even in works
left in teenage tatters or forgotten or orphaned by their composers
and certainly by the public and concert promoters.

These are discoveries but more to the point are rewarding revelations
that beckon the listener to return.

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